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The influence of Mong folk songs in the poem The Bride's Song - 1


HANOI NATIONAL UNIVERSITY

UNIVERSITY OF SOCIAL SCIENCES AND HUMANITIES

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NGUYEN TINH THUY


INFLUENCE OF MONG ETHNIC FOLK SONGS IN THE POEM "THE SONG OF BEING A DAUGHTER-IN-LAW"


MASTER'S THESIS

MAJOR: FOLKLITERATURE


Hanoi -2012

HANOI NATIONAL UNIVERSITY

UNIVERSITY OF SOCIAL SCIENCES AND HUMANITIES

-------------------------------------------------- ---


NGUYEN TINH THUY


INFLUENCE OF MONG ETHNIC FOLK SONGS IN THE POEM "THE SONG OF BEING A DAUGHTER-IN-LAW"


Master's thesis major : FOLKLITERATURE Code : 60 22 36


Scientific supervisor : Associate Professor, Dr. Ha Cong Tai


Hanoi - 2012

INDEX

INTRODUCTION 1

1. Topic introduction: 1

2. History of research on problem 3

3. Research object, research purpose and research scope: 4

4. Research methods: 4

5. Thesis structure 5

CONTENT 6

CHAPTER 1: THE POEM AND THE BASIS OF THE RELATIONSHIP BETWEEN THE MONG ETHNIC FOLK SONGS AND THE POEM THE SONG OF BEING A DAU 6

1.1. The concept of narrative poetry and the formation of narrative poetry in folk literature 6

1.1.1. Concept of narrative poetry 6

1.1.2. Typical groups of narrative poems7

1.1.3. The formation of narrative poems in Vietnamese folk literature 9

1.2. The basis of the relationship between Mong folk songs and narrative poems

Bride's Song 12

1.2.1. Historical and social basis 13

1.2.2. Internal basis of literature 17

Summary 25

CHAPTER 2: THE RECEPTION OF THE AESTHETIC CONTENT OF THE MONG ETHNIC FOLK SONGS IN THE POEM THE SONG OF THE DAUGHTER-IN-LAW 27

2.1. Topic, theme, content value and ideological significance 28

2.1.1. Topics and themes 28

2.1.2. Content value and ideological significance 39

2.2. Customs, practices and cultural living space of mountainous areas. 41

2.2.1. Backward and harsh customs and laws in marriage and wedding ceremonies 41

2.2.2. Mountainous cultural living space 54

2.3. Concept of fate and typical human psychology in Mong society 57

2.4. Mood of lyrical character 60

Summary 70

CHAPTER 3: THE TRANSFORMATION OF ELEMENTS OF THE POETIC TECHNIQUE OF THE MONG ETHNIC FOLK SONGS IN THE POEM THE SONG OF THE DAUGHTER-IN-LAW 72

3.1. Plot and structure system 72

3.1.1. Narrative elements create the plot 72

3.1.2. The movement of the plot towards a tragic ending 77

3.1.3. Repetitive and contrasting textures 82

3.2. Character motifs and symbolic motifs 86

3.2.1. Character motif: I love you - you love me 86

3.2.2. Symbolic motif of Highway 87

3.3. Character lines and lyrical character images 90

3.3.1. Protagonist - antagonist character line 90

3.3.2. Central and peripheral character lines 92

3.3.3. Lyrical character image: the character I love 94

3.4. Lyrical style 95

3.4.1. Artistic words 95

3.4.2. The art of describing character psychology 96

3.4.3. Poetic language and imagery 97

3.4.4. Methods and forms of performance 99

Summary 101

CONCLUSION 103

REFERENCES 105

APPENDIX 108

1. GS.: Professor

List of abbreviations

2. Publisher: Publishing House

3. Associate Professor: Associate Professor

4. PhD.

5. TSKH: Doctor of Science

6. p.: page

7. xb: publish

List of tables


STT

Table name

Survey content

1

2.1

Theme of three poetic stories The song of a daughter-in-law, A Thao - Nu Cau,

The Bride - Cha Tang


2


2.2

The number of verses receiving aesthetic content from four types of Mong ethnic folk songs in three narrative poems The Song of Being a Daughter-in-Law, A

Thao - Nu Cau, Nhang Do - Cha Tang

3

2.3

The lyrical character's moods

4

2.4

Frequency of appearance of tear image

5

2.5

Frequency of appearance of words that directly reveal the character's mood

lyrical

6

3.1

Images and words symbolizing death

7

3.2

The ending of the work

8

3.3

Overlapping and contrasting textures

9

3.4

Frequency of appearance of road symbol

10

3.5

Frequency of appearance of the villain mother-in-law

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The influence of Mong folk songs in the poem The Brides Song - 1

INTRODUCTION


1. Topic introduction:

As we know, the term Folklore was born as a concept used to refer to customs, habits, superstitious rituals, folk songs, proverbs... of people in the past. Folklore in the world is a concept corresponding to the folk culture and folk literature of the Vietnamese people. Folk culture and folk literature have for many generations become a cultural foundation that occupies an important position in the spiritual life of the Vietnamese people as well as other ethnic groups. Especially folk literature. This literature was born in the primitive communal society, developed brilliantly over time, creating twelve smaller genres, these genres were born in succession and transformation of cultural and literary elements in the spiritual life of the community and the collective. New genres are constantly added to promptly and truthfully reflect historical social phenomena.

More importantly, since ancient literature, literary genres have supported and inherited each other to produce many new literary genres. Based on the changes of history and the movement of society, many new literary genres have been formed and developed based on exogenous and endogenous sources. Receiving and inheriting the traditions of folk literature is no longer just a stage-specific inheritance, but the internal development of each genre also leads the recipient to the world of collective creativity. Not only in written literature can we see the influence of folk literature groups in the artistic creative style and creative viewpoints of writers, but more importantly, folk literature itself is also a process of inheritance and development, a process of influence and interaction between literary genres.

Thus, it can be affirmed that folk literature has a strong influence on Vietnamese literature. From the period of literature in ancient society to literature in Confucian and modern society. From Vietnamese literature to literature of ethnic minorities. That shows the strong influence and spread of folk literature in the spiritual life of people.

Realizing the important role of folk literature in literature - especially the influence of the tradition of folk lyric poetry on literary genres - there have been many research works on this issue. However, it has only stopped in the process of studying and researching intensively on Vietnamese literature. The literature of ethnic minorities is different from the influence of folk literature, of lyrical folk songs, which is still a seemingly endless gap. In the large family of Vietnamese ethnic groups, the Mong ethnic minority is also one of the ethnic groups with a fairly developed literature. And it can be said that the influence of folklore on the literature of their people is very large. Because the Mong people, like many other ethnic minorities, do not have a period of medieval literature that plays an intermediary role like the Vietnamese. Therefore, the folklore of this ethnic group has very special variations. It moves from within itself and conceives many new genres of folklore, enriching and diversifying the folklore treasure .

our people

The poem The Singing Bride is a masterpiece of Mong folk literature. This poem is the voice of the people with emotional levels and moods towards the content and form of reflection in the cultural exchange relationship between Mong people with each other and with other ethnic groups. The Singing Bride is not simply a story, but it is considered a book that shows the typical folk culture from the influences of the lyrical style in an earlier genre of folk literature - lyrical folk songs. Studying the formation of the poem The Singing Bride and the influence of Mong folk songs in this poem is also a way to approach ethnic minority culture without direct contact. It helps readers find the values ​​of Mong cultural identity and analyze and learn about it through a typical art form - the cultural space in literary life, that is, there is a new approach to cultural elements from an intermediate art form.

Realizing the importance of such an issue, through this thesis, we decided to study the influence of Mong folk songs in the poem " Tieng hat lam dau" as a way to study the rich folk literature of the Mong people. We chose Tieng hat lam dau , choosing the genre of the poem.

and the comparative entity is folk song because this is a work that deeply expresses folk culture with typical characteristics in terms of poetics of narrative poems and poetics of folk songs.

We identify the specific tasks when implementing this topic as:

1.1. Learn about the poem and the basis of the relationship between Mong folk songs and the poem The Bride's Song .

1.2. Study the reception of Mong folk aesthetic content in narrative poems

Bride song .

1.3. Study the transformation of Mong folk poetic elements in the poem The Bride's Song .

2. History of research on the problem:

Regarding the issue of studying the formation of the poem "Tieng hat lam dau" , since this poem was published by author Doan Thanh with the collection of Mong folk songs, until now there has not been any research work on this poem, as well as many other poems or other genres of Mong folk literature. There is only one article by author Phan Nhat that raises general issues in the author's assessment of the formation of the poem " Tieng hat lam dau" from the folk song "Tieng hat lam dau" and the folk song "Tieng hat tinh yeu".

This article is titled Studying the formation process of the poem The Daughter-in-law's Song, first published in 1972 in the literary magazine No. 3. In the article with a length of 11 pages, from page 62 to page 73, author Phan Nhat gave his comments on the formation of the poem The Daughter-in-law's Song . He concluded that: the process of forming the poem The Daughter-in-law's Song is a process of "absorbing the folk song The Daughter-in-law's Song , is a selective, advanced, and systematized absorption, a process of transformation from general to specific, from abstract to individualization, from fragmentary to systematic. It is a process from lyric to narrative, or more precisely, the process of narrativizing lyrical folk songs." [18, pp. 67 - 68].

Author Phan Nhat also summarized 6 basic structural types of the content of the folk song The Daughter-in-law's Singing and outlined the structure of the story poem The Daughter-in-law's Singing. He said that the narrative elements were present from types 3, 4, 5, 6 in the folk song The Daughter-in-law's Singing . Besides, the details of the story poem are often similar to those in folk songs, both the folk song The Daughter-in-law's Singing.

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